Advances in Social Science, Education and Humanities Research, volume 102 1st International Conference on Technology and Vocational Teachers (ICTVT 2017) Transformation of Ulos as Creative Textiles For Fashion Design Learning Nining Tristantie Universitas Negeri Medan Fakultas Teknik Medan, Indonesia [email protected] Abstract— Qualified education is one which is able to reflect forward transition to the field of fashion design that becomes the globalization movement dinamically. Clothing Education and the sphere of creative fashion industry.(Tian, Bingqiang, Hu, globalization should provide an implication to the economy Shouzhong.2016) These problems are also in line with the accelaration which needs creative effort to drive either local or reality faced by the creative economy that exists in Indonesia, international market through learning which should contain local based on Department of Trade on the description of the genius. One of the local genius departing from cultural Creative Industry of 2009-2015 that the largest contribution of artifacts as a solid object is the usage of traditional textile from GDP (Gross Domestic Product) to Creative Industries is in the the Bataknese, North Sumatra, namely Ulos. Based on literature fashion field of 43.71 Percent based on constant prices. (2008). studies, Ulos as traditional textile can be adapted for design ideas This value is growing every year. Although it continues to which finally could be transformed as a number of creative show an increase, but this condition doesn’t actually touch the contemporary objects. The development starts from motifs on Ulos which is cultivated as printing textile or redefining about aspect of individual Indonesian creativity. This Assumption is character of the base material with the traditional weaving based on the number of potentials that have not been explored, technology as well as weaving machine. Through exploration of local especially from the originality of design departing from the content departs from the cultural richness which inspires in cultural richness in Indonesia. The implication of this problem producing a number of creative textile which finally transferred is the need for quality of human resources for the improvement as fashion design learning. of creativity and innovation that depart from the education especially for the development of design. The education of Clothing is expected to anticipate the Keywords—Globalization, Transformation, Fashion, Ulos, movement of globalization and develop many lessons that are Designing. full of local cultural values. One of them is ulos. Ulos has a motifs tradition that contains many philosophical meanings. A piece of cloth has a different function in accordance with the I. INTRODUCTION existing motifs on the Ulos. The study of batik aesthetic of Indonesia has a very multicultural diversity. This makes batak tradition in contemporary context is important to be done Indonesia has a rich variety of cultural artifacts. One of which as a reflection to arouse national pride of society including is traditional textile that is very prominent with various young generation especially the student of clothing education. production techniques. Production techniques that have been Lifting traditional textiles as a learning, is an opportunity to done as an inheritance in this community makes the character introduce the outside world of the wisdom of cultural values in of traditional textiles as a differentiator from one area to a global context through fashion design by digging and lifting another. Differences can be seen from designs and have the character in the substance of learning Fashion Design. symbolic meaning. Over centuries textiles of this tradition have Learning clothing design is expected to have the character of played an important role in inter island trade and international local wisdom, which is able to explore elements of tradition to trade. (Kahdar, Kahfiati et all; 2010). be presented in the concept of the Present. But in the process there are something to be noticed, especially in digging As a nation that has a diversity of cultures, it needs traditional textiles such as Ulos. challenges to be faced by the world of education to increase human resources that can bridge the needs of the fashion II. THE EXOTIC OF ULOS AND PYLOSOPHY industry by staying based on local values. The fashion industry Exploring how Ulos early presence is to study it of the future requires unlimited creativity and innovation as a historically. Ulos has the meaning of 'selimut (blanket)' that is strategy to survive in globalization. The efforts made by the able to provide warmth to its users. The blanket interpretation Chinese fashion industry which emphasizes on creative design here is not as a denotative warmer. Ulos connotatively means and technological innovation. China uses these two things by the warmth of relationships, by giving Ulos to someone by likening them as two wheels that can pushed strongly to the 'blanketing' or attaching or 'pinning' through traditional rituals. Copyright © 2017, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 68 Advances in Social Science, Education and Humanities Research, volume 102 Ulos as it is known as a traditional object that has a philosophy accompanied with an increasingly economic, political and not just a woven fabric. Because in the Batak community, Ulos cultural climate demands for a more individualized lifestyle. At has a symbolic meaning. This is because the motifs contained this level, fashion needs not only at the level of essence but in the weaving is an expression of salvation for a deep hope for mixed with multiple aspects. This is one of the features of ‘the users’. It can be seen how the role of Ulos in Batak daily urban society that is always looking for new designs that are life. Ulos has a very central role, representing the life phase of more in line with contemporary society. (Chunyan, QIU and the community. In this respect Ulos as a form of reverence and Yue, HU.2014). The acceleration of science and technology sacred has become part of a traditional ceremony by giving it to has influenced the form of design and the art of dressing. It someone who is deemed worthy and worthy of receiving it. brings new changes and meanings to the forms of clothing. This gift is based on important life events such as marriage, Anticipating the acceleration in fashion that is supported by the birth, or death. This is done for generations by the ancestors of latest technology (high-tech) and modern fashion has fused the Batak tribe. boundary between multidisciplinary leading technology with the development of clothing art. This provides an awareness for Putting Ulos on the shoulder in the tradition of so-called the designers that the future of the latest clothing technology 'mangulosi' marriage uses special Ulos . Ulos Ragiidup motif is will 'live' in imagination and real science fiction that departs used in Mangulosi ceremony for the bride to bring together the from traditional styles to the direction of clever designing of bride and groom. Mangulosi ceremony for the parents of the clothing. Development of innovative materials, Development bridegroom by the bride's parents using Ulos Pansamot as an of Novelty Patterns of design, Sustainable Design of Clothing expression of welcoming family of women. Similarly, when Art, The use of Eco Friendly Design are some signs of these the mangulosi event of death, moving house or the birth should traits. use Ulos with different motifs. Ulos is used differently depending on the motif of Ulos. This proves that Ulos has Various attempts are made by designers to display become part of the human child as sacred symbols. It is personalized clothing styles by exploring various ideas. The believed that wherever Batak traditions are, mangulosi will concept of fashion with the theme of tradition gives fresh air consistently run. for the fashion industry homeland that is seeking local identity to be presented with a global style. The cutting-edge style The expression which says that the use of Ulos is basely raised by top designers is an inspiration to consumers with used during the activities of traditional traditions has been more affordable options. This phenomenon is also followed by fully accepted reality as Ulos has its contextual meaning that local fashion players using Ulos as part of the creative process. lies precisely on its motifs. But it does not mean that Ulos can be worn just for a mean while. In traditional textiles there is a Not only for the observers of Batak Culture society, the symbolic space that requires interpretation to be able to process debate surrounding the use of Ulos as a fashion material, still elements existing on the custom fabric in order to link between raises a different opinion among the designers who raised the past and present traditions. Therefore, the interpretation of cloth as the idea in the work. There are opinions allowing the Ulos as a textile used as fashion textile requires an in-depth direct use of traditional textiles by combining them with other study to be presented as a new form and a part of contemporary materials. (Interview with Edward Hutabarat, 2015). While design. Traditional textile processing such as Ulos must be other designers do not justify using the material except on addressed wisely while maintaining cultural wisdom. This some permissible motif for considering that have symbolic understanding needs to be studied in the learning of Fashion meaning that accompanies it. (Sihombing, 2017). This Education. This is important for the young generation, condition often leads to debate on how to interpret the Ulos in especially students not only be able to understand the the fashion industry. Discussion with designer Merdi philosophy of textiles culture but also to translate them as Sihombing revealed that Ulos is not necessarily a fashion national identity that could contend in global industry.